BILL WESTENHOFER:  Wow, thank you BAFTA, this is incredible.  I am as astounded with the other nominees, so to have this award is truly spectacular. 

One of the central themes of Life of Pi is asking the audience to question what they believe is real and not real, so how appropriate that was our job in visual effects, to ask you to believe that this tiger that we created out of nowhere, and this ocean, whether it was real or not real and … well, I guess if we’re holding this, we did okay, so — so thank you. 

I want to thank Gill Netter and Elizabeth Gablel for persevering to make this film, for ten years, to make it seem the light of day.  And then our director, Ang Lee, thank you so much.  The work is astounding and it was a dream job to work with you, so thank you so much. 

Our producers, David Womark, Mike Malone and the entire production team.  To Claudio Miranda, our DP, and David Gropman for creating so much stuff on the frame before we even got started, thank you so much.

And then my hat is off to the over a thousand artists who worked on this film for a year, from companies — especially Rhythm and Hues, MPC, Buf, Look Effects and Lola, thank you so much.

Last but not least, my wife, Gabrielle, who is in the audience with me, and my children, Alexandra, Samantha, Christopher and Thomas; you guys are so patient to let us do this and thank you so much. 

Last but not least, I want to say, for those of us who do visual effects, you all laud us for our science at times, but we’re also artists, and we thank Life of Pi for the opportunity to show that if you give us the opportunity, we will make art with you, so thank you so much.

ERIK-JAN DE BOER:  Just quickly, I would like to thank John Hughes and all the artists at Rhythm and Hues Studios, this one is for you.

DONALD R ELLIOTT:  I would like to thank my family, Sherry, Nick and Tony, and Tommy Fisher for his help in this.

GUILLAUME ROCHERON:  And I want to thank my family, my friends and the crew at MPC to work with us for two and a half years.